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Glenda Lee Nov 2017
Ngano kaha gihigugma gihapon tika
masking nawala na imong paghigugma sa akoa?

Ngano kaha gipangga gihapon tika masking wala na ka ganahi sa atoa?

Ngano kaha gahandum gihapon ko nga ikaw ug ako gihapon
masking ako nalang ang gapugong sa kung unsay naa ta?

Ngano kaha ikaw ug ikaw gihapon ang pirminte naa sa akong huna huna
masking kabalo kong dili na ako ang naa sa imuha?

Ngano kaha gagunit gihapon ko sa imong saad na ako ra
Masking kabalo kong naa nakay lain na mas angay muhigugma sa imuha?


Siguro ingon ani lang gyud ko mahigugma
Higugmaon gihapon tika masking sakit na kaayo para sa akoa

Siguro ingon ani lang gyud ang gugma
Sakit pero nahigugma raman ko nimo masking ikaw wa na nahigugma sa akoa

Kabalo kong walay taong bogo pero andam ko mabogo kung ang kapuli kay pagpabilin nimo sa akoa

Pero ug kalipay gyud nimo ang mubiya na
Andam nakong mubuhi sa atoa
Andam nakong buhian ka ug ihatag sa iya
Andam nakong ako nalang ug wa nay kita
Kay tungod ingon ana kadako akong paghigugma sa imuha
#gugmasabisaya
#proudbisaya
judy smith May 2016
For the fifth year in a row, Kering and Parsons School of Fashion rolled out the ‘Empowering Imagination’ design initiative. The competition engaged twelve 2016 graduates of the Parsons BFA Fashion Design program, who "were selected for their excellence in vision, acute awareness in design identity, and mastery of technical competencies." The winners, Ya Jun Lin and Tiffany Huang, will be awarded a 2-week trip to Kering facilities in Italy in June 2016 and will have their thesis collections featured in Saks Fifth Avenue New York’s windows.

The Kering and Parsons competition, which is currently in its fifth year, is one of a growing number of design competitions, including but not limited to the LVMH Prize, the ANDAM Awards, the Council of Fashion Designers of America/Vogue Fashion Fund, and its British counterpart, the Woolmark Prize, the Ecco Domani fashion award, and the Hyères Festival. among others.

In the generations prior, designers were certainly nominated for awards, but it seems that there was not nearly as intense of a focus on design competitions as a means for designers to get their footing, for design houses to scout talent, or for these competitions to select the best of the best in a especially large pool of young talent. Fern Mallis, the former executive director of the Council of Fashion Designers of America and an industry consultant, told the New York Times: “Take the Calvin [Kleins] and the Donna [Karans] and the Ralph [Laurens] of the world. Some of these people had money from a friend or a partner who worked with them, but they weren’t out spending their time doing competitions and winning awards to get their business going.” She sheds light on an essential element: The relatively drastic difference between the state of fashion then and fashion now. Fashion then was slower, less global, and (a lot) less dominated by the internet, and so, it made for quite different circumstances for the building of a fashion brand.

Nowadays, young designers are more or less going full speed ahead right off the bat. They show comprehensive collections, many of which consist of garments and an array of accessories. They are expected to be active on social media. They are expected to establish a strong industry presence (think: Go to events and parties). They are expected to cope with the fashion business that has become large-scale and international. They are expected to collaborate to expand their reach, and while it does, at times, feel excessive, this is the reality because the industry is moving at such a quick pace, one that some argue is unsustainably rapid. The result is designers and design houses consistently building their brands and very rarely starting small. Case in point: Young brands showing pre-collections within a few years of setting up shop (for a total of four collections per year, not counting any collaboration or capsule collections), and established brands showing roughly four womenswear collections, four menswear collections, two couture collections, and quite often, a few diffusion collections each year.

The current climate of 'more is more' (more collections, more collaborations, more social media, more international know-how, etc.) in fashion is what sets currently emerging brands apart from older brands, many of which started small. This reality also sheds light on the increasing frequency with which designers rely on competitions as a means of gaining funds, as well as a means of establishing their names and not uncommonly, gaining outside funding.

The Ralphs, Tommys, Calvins and Perrys started off a bit differently. Ralph Lauren, for instance, started a niche business. The empire builder, now 74, got his start working at a department store then worked for a private label tie manufacturer (which made ties for Brooks Brothers and Paul Stuart). He eventually convinced them to let him make ties under the Polo label and work out of a drawer in their showroom. After gaining credibility thanks to the impeccable quality of his ties, he expanded into other things. Tommy Hilfiger similarly started with one key garment: Jeans. After making a name for himself by buying jeans, altering them into bellbottoms and reselling them at Brown’s in Manhattan, he opened a store catering to those that wanted a “rock star” aesthetic when he was 18-years old with $150. While the store went bankrupt by the time he was 25, it allowed him to get his foot in the door. He was offered design positions at Calvin Klein (who also got his start by focusing on a single garment: Coats. With $2,000 of his own money and $10,000 lent to him by a friend, he set up shop; in 1973, he got his big break when a major department store buyer accidentally walked into his showroom and placed an order for $50,000). Hilfiger was also offered a design position with Perry Ellis but turned them down to start his eponymous with help from the Murjani Group. Speaking of Perry Ellis, the NYU grad went to work at an upscale retail store in Virginia, where he was promoted to a buying/merchandising position in NYC, where he was eventually offered a chance to start his own label, a small operation. After several years of success, he spun it off as its own entity. Marc Jacobs, who falls into a bit of a younger generation, started out focusing on sweaters.

These few individuals, some of the biggest names in American fashion, obviously share a common technique. They intentionally started very small. They built slowly from there, and they had the luxury of being able to do so. Others, such as Hubert de Givenchy, Alexander McQueen and his successor Sarah Burton, Nicolas Ghesquière, Julien Macdonald, John Galliano and his successor Bill Gaytten, and others, spent time as apprentices, working up to design directors or creative directors, and maybe maintaining a small eponymous label on the side. As I mentioned, attempting to compare these great brand builders or notable creative directors to the young designers of today is a bit like comparing apples and oranges, as the nature of the market now is vastly different from what it looked like 20 years ago, let alone 30 or 40 years ago.

With this in mind, fashion competitions have begun to play an important role in helping designers to cope with the increasing need to establish a brand early on. It seems to me that winning (or nearly winning) a prestigious fashion competition results in several key rewards.

Primarily, it puts a designer's name and brand on the map. This is likely the least noteworthy of the rewards, as chances are, if you are selected to participate in a design competition, your name and brand are already out there to some extent as one of the most promising young designers of the moment.

Second are the actual prizes, which commonly include mentoring from industry insiders and monetary grants. We know that participation in competitions, such as the CFDA/Vogue Fashion Fund, the Woolmark Prize, the Swarovski, Ecco Domani, the LVMH Prize, etc., gives emerging designers face time with and mentoring from some of the most successful names in the industry. Chris Peters, half of the label Creatures of the Wind (pictured above), whose brand has been nominated for half of the aforementioned awards says of such participation: “It feels like we’ve talked to possibly everyone in fashion that we can possibly talk to." The grants, which range anywhere from $25,o00 to $400,000 and beyond, are obviously important, as many emerging designers take this money and stage a runway show or launch pre-collections, which often affect the business' bottom line in a major and positive way.

The third benefit is, in my opinion, the most significant. It seems that competitions also provide brands with some reputability in terms of finding funding. At the moment, the sea of young brands which is terribly vast. Like law school graduates, there are a lot of design school graduates. With this in mind, these competitions are, for the most part, serving as a selection mechanism. Sure, the inevitable industry politics and alternate agendas exist (without which the finalists lists may look a bit different), but great talent is being scouted, nonetheless. Not only is it important to showcase the most promising young talent and provide them with mentoring and grant money, as a way of maintaining an industry, but these competitions also do a monumental service to young brands in terms of securing additional funding. One of the most challenging aspects of the business for young/emerging brands is producing and growing absent outside investors' funds, and often, the only way for brands' to have access to such funds is by showing a proven sales track record, something that is difficult to establish when you've already put all of your money into your business and it is just not enough. This is a frustrating cycle for young designers.

However, this is where design competitions are a saving grace. If we look to recent Council of Fashion Designers of America/Vogue Fashion Fund winners and runners-up, for instance, it is not uncommon to see funding (distinct from the grants associated with winning) come on the heels of successful participation. Chrome Hearts, the cult L.A.-based accessories label, acquired a minority stake in The Elder Statesman, the brand established by Greg Chait, the 2012 winner, this past March. A minority stake in 2011 winner Joseph Altuzarra's eponymous label was purchased by luxury conglomerate Kering in September 2013. Creatures of the Wind, the NYC-based brand founded by Shane Gabier and Chris Peters, which took home a runner-up prize in the 2011 competition, welcomed an investment from The Dock Group, a Los Angeles-based fashion investment firm, last year, as well.

Across the pond, the British Fashion Council/Vogue Fashion Fund has awarded prizes to a handful of designers who have gone on to land noteworthy investments. In January 2013, Christopher Kane (pictured below), the 2011 winner, sold a majority stake in his brand to Kering. Footwear designer Nicholas Kirkwood was named the winner 2013 in May and by September, a majority stake in his company had been acquired by LVMH.

Thus, while the exposure that fashion design competition participants gain, and the mentoring and monetary grants that the winners enjoy, are certainly not to be discounted, the takeaway is much larger than that. These competitions are becoming the new way for investors and luxury conglomerates to source new talent, and for young brands to land the outside investments that they so desperately need to produce their collections, expand their studio space, build upon their existing collections, and even open brick and mortar stores.

While no one has scooped up inaugural LVMH winner Thomas Tait’s brand yet or fellow winner, Marques'Almeida, it is likely just be a matter of time.Read more at:www.marieaustralia.com/short-formal-dresses | http://www.marieaustralia.com/formal-dresses-sydney
Jo Organiza Oct 2019
Sa kahayag sa bulan,
ug sa kangitngit sa mga dalan,
kitang duha magpa-ilawom sa bilog na bulan,

dapit sa kapehan na atong naibgan,
atong mga damgo ug kaagi atong sturyahan,
kining mga damgong nahitumong sa mga bituon,
andam mulayat ug mukab-ot sa atong mga dughan,
mga damgong maabtan kung ato kining paningkamutan.
Balak- A Bisaya Poem.
Twitter: @JoRaika
Anton Sep 2019
Sa taliwala niining akong kalibutan nga puno sa kaguol,
ikaw dinhi sa akong kibuhi ang niabot ug niduol,
hinaot unta nga ikaw dili ug dili magabasol,
kay ako intawn kanimo wala'y ika hatag bisan gamay na suhol,
kung pananglitan nga ikaw bation ug kakatol,
hinaut unta nga sa lain tawo dili musagol,
kay ako ania man nga pirme andam itunol,
ang gugma ko nga sa kasing kasing mo mu-bukol.
Como é escasso o sorriso
sem brilho e frio
Há alguma coisa ebulindo
uma bomba
Mas não, eles não sairão de lá
nunca explodirão
pois não existem sorrisos
bocas se movem em formatos semelhantes
sem dentes e podres
toxinas exalam-se,
o veneno é o licor divino
o paraíso é logo abaixo da ponte
não se dorme no paraíso
se ao menos conseguissem dormir...
mas os putrefatos corpos que andam parasitando
consumindo restos e ruínas
patifes e loucos bailam a vida
vida que não é vida
O perfume está no ar
as flores são tão belas
as abelhas não tem ferrões
e se tivessem não ferroariam
a jovem virgem caminha exuberante
fotografias da bela matriz
onde a arquitetura supera a fé
mas ao lado, no canto escuro
onde ninguém vê
canta o homem escuro
que a todos observa
observa e observa....
Anton Aug 2018
Dili na mapugngan ang gugma
dughan nato wa na nag duha-duha
gikalimtan na ang kaugalingon
andam ihatag ang tanan sa imo

Basta naay ikaw ug ako

Ang selos dili gyud mapugngan
Bisag walay man tay hinungdan
oh Pagsabot raman ang kinahanglan
Aron atong gugma way katapusan

Basta naay ikaw ug ako

Lantaw na makalanay
Nangurog sa kalipay
Dugay ko ng gihandom
nga ikaw akong maangkon

(Ayaw unta paasaha
Kining akong gugma
Kanunay gahandom
Bisag way pag laom)

Basta naay ikaw ug ako
(Lantaw na makalanay
Nangurog sa kalipay)

Basta naay ikaw ug ako
(Dugay ko ng gihandom
basta ikaw maangkon)
Anton Jul 2019
Cge, salamat kaayo sa tanan ha?  
Sa memories ug sa melodies,
the songs you sang and played for me ,
Sa gamay nga oras nimo nga gihatag,
Sa gugma na kanako  imohang gidalit,  
Pasayloa na ang imong gugma nausik lang ug nasayang,
Dre kanako na usa ka taw nga walay hinungdan, sama kanako nga daw sagbot lang sa katilingban,  
Sama kanako nga  sa kinabuhi walay padulngan,
Sama kanako na sa gugma nimo dili takos ug angay,
Sama nako nga sa kinabuhi ug katawhan gina tamay,
Mao ikaw langga ayaw na pag langay,  
arun makita ug maka.ila na nimo ang taw  na kanimo muhigugma nimo ug tinud.anay,
ang taw nga makauban nimo kanunay,

Pasagdi nalang ko dri,
Biyae nalng ko dinhi,
Dle nako magdahum na muabot ug kanimo naapay mo puli,
Busa ako, hikalimti,

Pero ilawm sa akong kasing kasing naa gihapon ka magpabilin,
Manghinaut na ikaw nalipay pod sa akong pag.abot ,
Nga unta ikaw dle mag bago ug dle makalimot,
Sa mga panumpa ta,
nga matud pa walay katapusan,

Dle na nako mahimong pugngan,
ang gibating kasikas ning akong dughan,
Ipagawas ra nako ning tanan,
Mga kasikit ug kaguol ig bundak sa uwan,

Unta puhon sugaton ug madawat nimo,
Ang kamatuoran nga wan.a juy kita,
Ayaw lang pabali ug kabalaka,
Kahibaw ko naara ang taw nga kanimo andam mohigugma.

Salamat azaraya
Jo Organiza Feb 20
O Titser! My Titser!

Dughan kong naglatagaw sa tibuok adlaw
nahibalik sa paglantaw sa agtang **** hayag kaayo musinaw,
Ug sa dihang nisulod kas eskwelahan, ikaw ra gayod ang nag inusarang kahayag na akong nakit-an.
Pangalan mo palang, mupitik na'g kadali ang akong dughan.
Kung gali magleksyon ka dira sa atubangan, sa'kong hunahuna, hagbay na tikang gipakaslan.

O Titser! My Titser!
Pinalangga kong katingalahang maestra
Hangtud kunus-a paman ko maghulat
na ikaw gayod ma-akoa?

Tagda ning kasingkasing sa usa ka magbabalak
Paminawa kining mga hilak sa akong mga gitagik na mga balak
gugmang tinuod, 'di gayod kini bakak.

Isa ko ka estudyanteng bugoy, pero ayg kabalaka, apil nakas akong mga pangandoy.
Dira sa simbahan, sa fuente, sa mango, ug bisag asa maabot, nganli ko'g lugar, atoa nang isuroy.

O Titser! My Titser!
Pinalangga kong gwapang maestra,
nganong 'di man jud tika ma akoa?
andam ko pang abton mga bituon,
mamupo'g tambis sa kabuntagon,
unsa pamay laing dapat nakong buhaton?
aron ang tam-is **** paghigugma ako dayung maangkon.
I wrote this one para sa akong crush sauna hHAHAHHAA
Balak - A Bisaya Poem.
Jo Organiza Jun 21
Siya ang nagahatag ug kahayag
aron ako 'di mag-inusara ug masaag.
sa mga malangitngiton kong mga dalan
andam niyang saw-on ang tanan
gikan sa'kong pagkabut-an paubos sa'kong pagkakiatan.

Sa masubo niyang kahimtang
nga magtrabaho ug taman
para lang mahapsay ang tulog namong tanan.


Ug mahitungod kini tanan sa pinalangga kong amahan.
Balak para sa mga amahan
Ayaw ko pangutan-a unsay connect sa title. HAHAHAHAHA

Happy Father's Day!

Balak - A Bisaya Poem.

— The End —